Memoirs Of A Geisha
Suppose that you and I were sitting in a quiet room overlooking a gar-1 den, chatting and sipping at our
cups of green tea while we talked J about something that had happened a long while ago, and I said to
you, "That afternoon when I met so-and-so . . . was the very best afternoon of my life, and also the very
worst afternoon." I expect you might put down your teacup and say, "Well, now, which was it? Was it
the best or the worst? Because it can't possibly have been both!" Ordinarily I'd have to laugh at myself
and agree with you. But the truth is that the afternoon when I met Mr. Tanaka Ichiro really was the best
and the worst of my life. He seemed so fascinating to me, even the fish smell on his hands was a kind of
perfume. If I had never known him, I'm sure I would not have become a geisha.
I wasn't born and raised to be a Kyoto geisha. I wasn't even born in Kyoto. I'm a fisherman's daughter
from a little town called Yoroido on the Sea of Japan. In all my life I've never told more than a handful
of people anything at all about Yoroido, or about the house in which I grew up, or about my mother and
father, or my older sister-and certainly not about how I became a geisha, or what it was like to be one.
Most people would much rather carry on with their fantasies that my mother and grandmother were
geisha, and that I began my training in dance when I was weaned from the breast, and so on. As a matter
of fact, one day many years ago I was pouring a cup of sake for a man who happened to mention that he
had been in Yoroido only the previous week. Well, I felt as a bird must feel when it has flown across the
ocean and comes upon a creature that knows its nest. I was so shocked I couldn't stop myself from
"Yoroido! Why, that's where I grew up!"
This poor man! His face went through the most remarkable series of changes. He tried his best to smile,
though it didn't come out well because he couldn't get the look of shock off his face.
"Yoroido?" he said. "You can't mean it."
I long ago developed a very practiced smile, which I call my "Noh smile" because it resembles a Noh
mask whose features are frozen. Its advantage is that men can interpret it however they want; you can
imagine how often I've relied on it. I decided I'd better use it just then, and of course it worked. He let
out all his breath and tossed down the cup of sake I'd poured for him before giving an enormous laugh
I'm sure was prompted more by relief than anything else.
"The very idea!" he said, with another big laugh. "You, growing up in a dump like Yoroido. That's like
making tea in a bucket!" And when he'd laughed again, he said to me, "That's why you're so much fun,
Sayuri-san. Sometimes you almost make me believe your little jokes are real."
I don't much like thinking of myself as a cup of tea made in a bucket, but I suppose in a way it must be
true. After all, I did grow up in Yoroido, and no one would suggest it's a glamorous spot. Hardly anyone
ever visits it. As for the people who live there, they never have occasion to leave. You're probably
wondering how I came to leave it myself. That's where my story begins.
In our little fishing village of Yoroido, I lived in what I called a "tipsy house." It stood near a cliff where
the wind off the ocean was always blowing. As a child it seemed to me as if the ocean had caught a
terrible cold, because it was always wheezing and there would be spells when it let out a huge sneezewhich is to say there was a burst of wind with a tremendous spray. I decided our tiny house must have
been offended by the ocean sneezing in its face from time to time, and took to leaning back because it
wanted to get out of the way. Probably it would have collapsed if my father hadn't cut a timber from a
wrecked fishing boat to prop up the eaves, which made the house look like a tipsy old man leaning on
Inside this tipsy house I lived something of a lopsided life. Because from my earliest years I was very
much like my mother, and hardly at all like my father or older sister. My mother said it was because we
were made just the same, she and I-and it was true we both had the same peculiar eyes of a sort you
almost never see in Japan. Instead of being dark brown like everyone else's, my mother's eyes were a
translucent gray, and mine are just the same. When I was very young, I told my mother I thought
someone had poked a hole in her eyes and all the ink had drained out, which she thought very funny.
The fortunetellers said her eyes were so pale because of too much water in her personality, so much that
the other four elements were hardly present at a}}-and this, they explained, was why her features
matched so poorly. People in the village often said she ought to have been extremely attractive, because
her parents had been. Well, a peach has a lovely taste and so does a mushroom, but you can't put the two
together; this was the terrible trick nature had played on her. She had her mother's pouty mouth but her
father's angular jaw, which gave the impression of a delicate picture with much too heavy a frame. And
her lovely gray eyes were surrounded by thick lashes that must have been striking on her father, but in
her case only made her look startled.
My mother always said she'd married my father because she had too much water in her personality and
he had too much wood in his. People who knew my father understood right away what she was talking
about. Water flows from place to place quickly and always finds a crack to spill through. Wood, on the
other hand, holds fast to the earth. In my father's case this was a good thing, for he was a fisherman, and
a man with wood in his personality is at ease on the sea. In fact, my father was more at ease on the sea
than anywhere else, and never left it far behind him. He smelled like the sea even after he had bathed.
When he wasn't fishing, he sat on the floor in our dark front room mending a fishing net. And if a
fishing net had been a sleeping creature, he wouldn't even have awakened it, at the speed he worked. He
did everything this slowly. Even when he summoned a look of concentration, you could run outside and
drain the bath in the time it took him to rearrange his features. His face was very heavily creased, and
into each crease he had tucked some worry or other, so that it wasn't really his own face any longer, but
more like a tree that had nests of birds in all the branches. He had to struggle constantly to manage it and
always looked worn out from the effort.
When I was six or seven, I learned something about my father I'd never known. One day I asked him,
"Daddy, why are you so old?" He hoisted up his eyebrows at this, so that they formed little sagging
umbrellas over his eyes. And he let out a long breath, and shook his head and said, "I don't know." When
I turned to my mother, she gave me a look meaning she would answer the question for me another time.
The following day without saying a word, she walked me down the hill toward the village and turned at
a path into a graveyard in the woods. She led me to three graves in the corner, with three white marker
posts much taller than I was. They had stern-looking black characters written top to bottom on them, but
I hadn't attended the school in our little village long enough to know where one ended and the next
began. My mother pointed to them and said, "Natsu, wife of Sakamoto Minoru." Sakamoto Minoru was
the name of my father. "Died age twenty-four, in the nineteenth year of Meiji." Then she pointed to the
next one: "Jinichiro, son of Sakamoto Minoru, died age six, in the nineteenth year of Meiji," and to the
next one, which was identical except for the name, Masao, and the age, which was three. It took me a
while to understand that my father had been married before, a long time ago, and that his whole family
had died. I went back to those graves not long afterward and found as I stood there that sadness was a
very heavy thing. My body weighed twice what it had only a moment earlier, as if those graves were
pulling me down toward them.
With all this water and all this wood, the two of them ought to have made a good balance and produced
children with the proper arrangement of elements. I'm sure it was a surprise to them that they ended up
with one of each. For it wasn't just that I resembled my mother and had even inherited her unusual eyes;
my sister, Satsu, was as much like my father as anyone could be. Satsu was six years older than me, and
of course, being older, she could do things I couldn't do. But Satsu had a remarkable quality of'doing
everything in a way that seemed like a complete accident. For example, if you asked her to pour a bowl
of soup from a pot on the stove, she would get the job done, but in a way that looked like she'd spilled it
into the bowl just by luck. One time she even cut herself with a fish, and I don't mean with a knife she
was using to clean a fish. She was carrying a fish wrapped in paper up the hill from the village when it
slid out and fell against her leg in such a way as to cut her with one of its fins.
Our parents might have had other children besides Satsu and me, particularly since my father hoped for
a boy to fish with him. But when I was seven my mother grew terribly ill with what was probably bone
cancer, though at the time I had no idea what was wrong. Her only escape from discomfort was to sleep,
which she began to do the way a cat does-which is to say, more or less constantly. As the months passed
she slept most of the time, and soon began to groan whenever she was awake. I knew something in her
was changing quickly, but because of so much water in her personality, this didn't seem worrisome to
me. Sometimes she grew thin in a matter of months but grew strong again just as quickly. But by the
time I was nine, the bones in her face had begun to protrude, and she never gained weight again
afterward. I didn't realize the water was draining out of her because of her illness. Just as seaweed is
naturally soggy, you see, but turns brittle as it dries, my mother was giving up more and more of her
Then one afternoon I was sitting on the pitted floor of our dark front room, singing to a cricket I'd found
that morning, when a voice called out at the door:
"Oi! Open up! It's Dr. Miura!"
Dr. Miura came to our fishing village once a week, and had made a point of walking up the hill to check
on my mother ever since her illness had begun. My father was at home that day because a terrible storm
was coming. He sat in his usual spot on the floor, with his two big spiderlike hands tangled up in a
fishing net. But he took a moment to point his eyes at me and raise one of his fingers. This meant he
wanted me to answer the door.
Dr. Miura was a very important man-or so we believed in our village. He had studied in Tokyo and
reportedly knew more Chinese characters than anyone. He was far too proud to notice a creature like me.
When I opened the door for him, he slipped out of his shoes and stepped right past me into the house.
"Why, Sakamoto-san," he said to my father, "I wish I had your life, out on the sea fishing all day. How
glorious! And then on rough days you take a rest. I see your wife is still asleep," he went on. "What a
pity. I thought I might examine her."
"Oh?" said my father.
"I won't be around next week, you know. Perhaps you might wake her for me?"
My father took a while to untangle his hands from the net, but at last he stood.
"Chiyo-chan," he said to me, "get the doctor a cup of tea."
My name back then was Chiyo. I wouldn't be known by my geisha name, Sayuri, until years later.
My father and the doctor went into the other room, where my mother lay sleeping. I tried to listen at the
door, but I could hear only my mother groaning, and nothing of what they said. I occupied myself with
making tea, and soon the doctor came back out rubbing his hands together and looking very stern. My
father came to join him, and they sat together at the table in the center of the room.
"The time has come to say something to you, Sakamoto-san," Dr. Miura began. "You need to have a talk
with one of the women in the village. Mrs. Sugi, perhaps. Ask her to make a nice new robe for your
"I haven't the money, Doctor," my father said.
"We've all grown poorer lately. I understand what you're saying. But you owe it to your wife. She
shouldn't die in that tattered robe she's wearing."
"So she's going to die soon?"
"A few more weeks, perhaps. She's in terrible pain. Death will release her."
After this, I couldn't hear their voices any longer; for in my ears I heard a sound like a bird's wings
flapping in panic. Perhaps it was my heart, I don't know. But if you've ever seen a bird trapped inside the
great hall of a temple, looking for some way out, well, that was how my mind was reacting. It had never
occurred to me that my mother wouldn't simply go on being sick. I won't say I'd never wondered what
might happen if she should die; I did wonder about it, in the same way I wondered what might happen if
our house were swallowed up in an earthquake. There could hardly be life after such an event.
"I thought I would die first," my father was saying.
"You're an old man, Sakamoto-san. But your health is good. You might have four or five years. I'll leave
you some more of those pills for your wife. You can give them to her two at a time, if you need to."
They talked about the pills a bit longer, and then Dr. Miura left. My father went on sitting for a long
while in silence, with his back to me. He wore no shirt but only his loose-fitting skin; the more I looked
at him, the more he began to seem like just a curious collection of shapes and textures. His spine was a
path of knobs. His head, with its discolored splotches, might have been a bruised fruit. His arms were
sticks wrapped in old leather, dangling from two bumps. If my mother died, how could I go on living in
the house with him? I didn't want to be away from him; but whether he was there or not, the house
would be just as empty when my mother had left it.
At last my father said my name in a whisper. I went and knelt beside him.
"Something very important," he said.
His face was so much heavier than usual, with his eyes rolling around almost as though he'd lost control
of them. I thought he was struggling to tell me my mother would die soon, but all he said was:
"Go down to the village. Bring back some incense for the altar."
Our tiny Buddhist altar rested on an old crate beside the entrance to the kitchen; it was the only thing of
value in our tipsy house. In front of a rough carving of Amida, the Buddha of the Western Paradise,
stood tiny black mortuary tablets bearing the Buddhist names of our dead ancestors.
"But, Father . . . wasn't there anything else?"
I hoped he would reply, but he only made a gesture with his hand that meant for me to leave.
The path from our house followed the edge of the sea cliffs before turning inland toward the village.
Walking it on a day like this was difficult, but I remember feeling grateful that the fierce wind drew my
mind from the things troubling me. The sea was violent, with waves like stones chipped into blades,
sharp enough to cut. It seemed to me the world itself was feeling just as I felt. Was life nothing more
than a storm that constantly washed away what had been there only a moment before, and left behind
something barren and unrecognizable? I'd never had such a thought before. To escape it, I ran down the
path until the village came into view below me. Yoroido was a tiny town, just at the opening of an inlet.
Usually the water was spotted with fishermen, but today I could see just a few boats coming backlooking to me, as they always did, like water bugs kicking along the surface. The storm was coming in
earnest now; I could hear its roar. The fishermen on the inlet began to soften as they disappeared within
the curtain of rain, and then they were gone completely. I could see the storm climbing the slope toward
me. The first drops hit me like quail eggs, and in a matter of seconds I was as wet as if I'd fallen into the
Yoroido had only one road, leading right to the front door of the Japan Coastal Seafood Company; it was
lined with a number of houses whose front rooms were used for shops. I ran across the street toward the
Okada house, where dry goods were sold; but then something happened to me-one of those trivial things
with huge consequences, like losing your step and falling in front of a train. The packed dirt road was
slippery in the rain, and my feet went out from under me. I fell forward onto one side of my face. I
suppose I must have knocked myself into a daze, because I remember only a kind of numbness and a
feeling of something in my mouth I wanted to spit out. I heard voices and felt myself turned onto my
back; I was lifted and carried. I could tell they were taking me into the Japan Coastal Seafood Company,
because I smelled the odor of fish wrapping itself around me. I heard a slapping sound as they slid a
catch of fish from one of the wooden tables onto the floor and laid me on its slimy surface. I knew I was
wet from the rain, and bloody too, and that I was barefoot and dirty, and wearing peasant clothing. What
I didn't know was that this was the moment that would change everything. For it was in this condition I
found myself looking up into the face of Mr. Tanaka Ichiro.
I'd seen Mr. Tanaka in our village many times before. He lived in a much larger town nearby but came
every day, for his family owned the Japan Coastal Seafood Company. He didn't wear peasant clothing
like the fishermen, but rather a man's kimono, with kimono trousers that made him look to me like the
illustrations you may have seen of samurai. His skin was smooth and tight as a drum; his cheekbones
were shiny hillocks, like the crisp skin of a grilled fish. I'd always found him fascinating. When I was in
the street throwing a beanbag with the other children and Mr. Tanaka happened to stroll out of the
seafood company, I always stopped what I was doing to watch him.
I lay there on that slimy table while Mr. Tanaka examined my lip, pulling it down with his fingers and
tipping my head this way and that. All at once he caught sight of my gray eyes, which were fixed on his
face with such fascination, I couldn't pretend I hadn't been staring at him. He didn't give me a sneer, as if
to say that I was an impudent girl, and he didn't look away as if it made no difference where I looked or
what I thought. We stared at each other for a long moment-so long it gave me a chill even there in the
muggy air of the seafood company.
"I know you," he said at last. "You're old Sakamoto's little girl."
Even as a child I could tell that Mr. Tanaka saw the world around him as it really was; he never wore the
dazed look of my father. To me, he seemed to see the sap bleeding from the trunks of the pine trees, and
the circle of brightness in the sky where the sun was smothered by clouds. He lived in the world that was
visible, even if it didn't always please him to be there. I knew he noticed the trees, and the mud, and the
children in the street, but I had no reason to believe he'd ever noticed me.
Perhaps this is why when he spoke to me, tears came stinging to my eyes.
Mr. Tanaka raised me into a sitting position. I thought he was going to tell me to leave, but instead he
said, "Don't swallow that blood, little girl. Unless you want to make a stone in your stomach. I'd spit it
onto the floor, if I were you."
"A girl's blood, Mr. Tanaka?" said one of the men. "Here, where we bring the fish?"
Fishermen are terribly superstitious, you see. They especially don't like women to have anything to do
with fishing. One man in our village, Mr. Yamamura, found his daughter playing in his boat one
morning. He beat her with a stick and then washed out the boat with sake and lye so strong it bleached
streaks of coloring from the wood. Even this wasn't enough; Mr. Yamamura had the Shinto priest come
and bless it. All this because his daughter had done nothing more than play where the fish are caught.
And here Mr. Tanaka was suggesting I spit blood onto the floor of the room where the fish were cleaned.
"If you're afraid her spit might wash away some of the fish guts," said Mr. Tanaka, "take them home
with you. I've got plenty more."
"It isn't the fish guts, sir."
"I'd say her blood will be the cleanest thing to hit this floor since you or I were born. Go ahead," Mr.
Tanaka said, this time talking to me. "Spit it out."
There I sat on that slimy table, uncertain what to do. I thought it would be terrible to disobey Mr.
Tanaka, but I'm not sure I would have found the courage to spit if one of the men hadn't leaned to the
side and pressed a finger against one nostril to blow his nose onto the floor. After seeing this, I couldn't
bear to hold anything in my mouth a moment longer, and spat out the blood just as Mr. Tanaka had told
me to do. All the men walked away in disgust except Mr. Tanaka's assistant, named Sugi. Mr. Tanaka
told him to go and fetch Dr. Miura.
"I don't know where to find him," said Sugi, though what he really meant, I think, was that he wasn't
interested in helping.
I told Mr. Tanaka the doctor had been at our house a few minutes earlier.
"Where is your house?" Mr. Tanaka asked me.
"It's the little tipsy house up on the cliffs."
"What do you mean . . . 'tipsy house'?"
"It's the one that leans to the side, like it's had too much to drink."
Mr. Tanaka didn't seem to know what to make of this. "Well, Sugi, walk up toward Sakamoto's tipsy
house and look for Dr. Miura. You won't have trouble finding him. Just listen for the sound of his
patients screaming when he pokes them."
I imagined Mr. Tanaka would go back to his work after Sugi had left; but instead he stood near the table
a long while looking at me. I felt my face beginning to burn. Finally he said something I thought was
"You've got an eggplant on your face, little daughter of Sakamoto."
He went to a drawer and took out a small mirror to show it to me. My lip was swollen and blue, just as
"But what I really want to know," he went on, "is how you came to have such extraordinary eyes, and
why you don't look more like your father?"
"The eyes are my mother's," I said. "But as for my father, he's so wrinkled I've never known what he
really looks like."
"You'll be wrinkled yourself one day."
"But some of his wrinkles are the way he's made," I said. "The back of his head is as old as the front, but
it's as smooth as an egg."
"That isn't a respectful thing to say about your father," Mr. Tanaka told me. "But I suppose it's true."
Then he said something that made my face blush so red, I'm sure my lips looked pale.
"So how did a wrinkled old man with an egg for a head father a beautiful girl like you?"
In the years since, I've been called beautiful more often than I can remember. Though, of course, geisha
are always called beautiful, even those who aren't. But when Mr. Tanaka said it to me, before I'd ever
heard of such a thing as a geisha, I could almost believe it was true.
After Dr. Miura tended to my lip, and I bought the incense my father had sent me for, I walked home in
a state of such agitation, I don't think there could have been more activity inside me if I'd been an anthill.
I would've had an easier time if my emotions had all pulled me in the same direction, but it wasn't so
simple. I'd been blown about like a scrap of paper in the wind. Somewhere between the various thoughts
about my mother-somewhere past the discomfort in my lip-there nestled a pleasant thought I tried again
and again to bring into focus. It was about Mr. Tanaka. I stopped on the cliffs and gazed out to sea,
where the waves even after the storm were still like sharpened stones, and the sky had taken on the
brown tone of mud. I made sure no one was watching me, and then clutched the incense to my chest and
said Mr. Tanaka's name into the whistling wind, over and over, until I felt satisfied I'd heard the music in
every syllable. I know it sounds foolish of me-and indeed it was. But I was only a confused little girl.
After we'd finished our dinner and my father had gone to the village to watch the other fishermen play
Japanese chess, Satsu and I cleaned the kitchen in silence. I tried to remember how Mr. Tanaka had
made me feel, but in the cold quiet of the house it had slipped away from me. Instead I felt a persistent,
icy dread at the thought of my mother's illness. I found myself wondering how long it would be until she
was buried out in the village graveyard along with my father's
other family. What would become of me afterward? With my mother dead, Satsu would act in her place,
I supposed. I watched my sister scrub the iron pot that had cooked our soup; but even though it was right
before her-even though her eyes were pointed at the thing-I could tell she wasn't seeing it. She went on
scrubbing it long after it was clean. Finally I said to her:
"Satsu-san, I don't feel well."
"Go outside and heat the bath," she told me, and brushed her unruly hair from her eyes with one of her
"I don't want a bath," I said. "Satsu, Mommy is going to die-"
"This pot is cracked. Look!"
"It isn't cracked," I said. "That line has always been there."
"But how did the water get out just then?"
"You sloshed it out. I watched you."
For a moment I could tell that Satsu was feeling something very strongly, which translated itself onto
her face as a look of extreme puzzlement, just as so many of her feelings did. But she said nothing
further to me. She only took the pot from the stove and walked toward the door to dump it out.
The following morning, to take my mind off my troubles, I went swimming in the pond just inland from
our house amid a grove of pine trees. The children from the village went there most mornings when the
weather was right. Satsu came too sometimes, wearing a scratchy bathing dress she'd made from our
father's old fishing clothes. It wasn't a very good bathing dress, because it sagged at her chest whenever
she bent over, and one of the boys would scream, "Look! You can see Mount Fuji!" But she wore it just
Around noontime, I decided to return home for something to eat. Satsu had left much earlier with the
Sugi boy, who was the son of Mr. Tanaka's assistant. She acted like a dog around him. When he went
somewhere, he looked back over his shoulder to signal that she should follow, and she always did. I
didn't expect to see her again until dinner-time, but as I neared the house I caught sight of her on the path
ahead of me, leaning against a tree. If you'd seen what was happening, you might have understood it
right away; but I was only a little girl. Satsu had her scratchy bathing dress up around her shoulders and
the Sugi boy was playing around with her "Mount Fujis," as the boys called them.
Ever since our mother first became ill, my sister had grown a bit pudgy. Her breasts were every bit as
unruly as her hair. What amazed me most was that their unruliness appeared to be the very thing the
Sugi boy found fascinating about them. He jiggled them with his hand, and pushed them to one side to
watch them swing back and settle against her chest. I knew I shouldn't be spying, but I couldn't think
what else to do with myself while the path ahead of me was blocked. And then suddenly I heard a man's
voice behind me say:
"Chiyo-chan, why are you squatting there behind that tree?"
Considering that I was a little girl of nine, coming from a pond where I'd been swimming; and
considering that as yet I had no shapes or textures on my body to conceal from anyone . . . well, it's easy
to guess what I was wearing.
When I turned-still squatting on the path, and covering my nakedness with my arms as best I could-there
stood Mr. Tanaka. I could hardly have been more embarrassed.
"That must be your tipsy house over there," he said. "And over there, that looks like the Sugi boy. He
certainly looks busy! Who's that girl with him?"
"Well, it might be my sister, Mr. Tanaka. I'm waiting for them to leave."
Mr. Tanaka cupped his hands around his mouth and shouted, and then I heard the sound of the Sugi boy
running away down the path. My sister must have run away too, for Mr. Tanaka told me I could go
home and get some clothes now. "When you see that sister of yours," he said to me, "I want you to give
He handed me a packet wrapped in rice paper, about the size of a fish head. "It's some Chinese herbs,"
he told me. "Don't listen to Dr. Miura if he tells you they're worthless. Have your sister make tea with
them and give the tea to your mother, to ease the pain. They're very precious herbs. Make sure not to
"I'd better do it myself in that case, sir. My sister isn't very good at making tea."
Dr. Miura told me your mother is sick," he said. "Now you tell me your sister can't even be trusted to
make tea! With your father so old, what will become of you, Chiyo-chan? Who takes care of you even
I suppose I take care of myself these days."
I know a certain man. He's older now, but when he was a boy about your age, his father died. The very
next year his mother died, and then his older brother ran away to Osaka and left him alone. Sounds a bit
like you, don't you think?"
Mr. Tanaka gave me a look as if to say that I shouldn't dare to disagree.
"Well, that man's name is Tanaka Ichiro," he went on. "Yes, me . . . although back then my name was
Morihashi Ichiro. I was taken in by the Tanaka family at the age of twelve. After I got a bit older, I was
married to the daughter and adopted. Now I help run the family's seafood company. So things turned out
all right for me in the end, you see. Perhaps something like that might happen to you too."
I looked for a moment at Mr. Tanaka's gray hair and at the creases in his brow like ruts in the bark of a
tree. He seemed to me the wisest and most knowledgeable man on earth. I believed he knew things I
would never know; and that he had an elegance I would never have; and that his blue kimono was finer
than anything I would ever have occasion to wear. I sat before him naked, on my haunches in the dirt,
with my hair tangled and my face dirty, with the smell of pond water on my skin.
"I don't think anyone would ever want to adopt me," I said.
"No? You're a clever girl, aren't your1 Naming your house a 'tipsy house.' Saying your father's head
looks like an egg!"
"But it does look like an egg."
"It wouldn't have been a clever thing to say otherwise. Now run along, Chiyo-chan," he said. "You want
lunch, don't you? Perhaps if your sister's having soup, you can lie on the floor and drink what she spills."
From that very moment on, I began to have fantasies that Mr. Tanaka would adopt me. Sometimes I
forget how tormented I felt during this period. I suppose I would have grasped at anything that offered
me comfort. Often when I felt troubled, I found my mind returning to the same image of my mother,
long before she ever began groaning in the mornings from the pain's inside her. I was four years old, at
the obon festival in our village, the time of year when we welcomed back the spirits of the dead. After a
few evenings of ceremonies in the graveyard, and fires outside the entrances of the houses to guide the
spirits home, we gathered on the festival's final night at our Shinto shrine, which stood on rocks
overlooking the inlet. Just inside the gate of the shrine was a clearing, decorated that evening with
colored paper lanterns strung on ropes between the trees. My mother and I danced together for a while
with the rest of the villagers, to the music of drums and a flute; but at last I began to feel tired and she
cradled me in her lap at the edge of the clearing. Suddenly the wind came up off the cliffs and one of the
lanterns caught fire. We watched the flame burn through the cord, and the lantern came floating down,
until the wind caught it again and rolled it through the air right toward us with a trail of gold dust
streaking into the sky. The ball of fire seemed to settle on the ground, but then my mother and I watched
as it rose up on the current of the wind, floating straight for us. I felt my mother release me, and then all
at once she threw her arms into the fire to scatter it. For a moment we were both awash in sparks and
flames; but then the shreds of fire drifted into the trees and burned out, and no one-not even my motherwas hurt.
A week or so later, when my fantasies of adoption had had plenty of time to ripen, I came home one
afternoon to find Mr. Tanaka sitting across from my father at the little table in our house. I knew they
were talking about something serious, because they didn't even notice me when I stepped into our
entryway. I froze there to listen to them.
"So, Sakamoto, what do you think of my proposal?"
"I don't know, sir," said my father. "I can't picture the girls living anywhere else."
"I understand, but they'd be much better off, and so would you. Just see to it they come down to the
village tomorrow afternoon."
At this, Mr. Tanaka stood to leave. I pretended I was just arriving so we would meet at the door.
"I was talking with your father about you, Chiyo-chan," he said to me. "I live across the ridge in the
town of Senzuru. It's bigger than Yoroido. I think you'd like it. Why don't you and Satsu-san come there
tomorrow? You'll see my house and meet my little daughter. Perhaps you'll stay the night? Just one
night, you understand; and then I'll bring you back to your home again. How would that be?"
I said it would be very nice. And I did my best to pretend no one had suggested anything out of the
ordinary to me. But in my head it was as though an explosion had occurred. My thoughts were in
fragments I could hardly piece together. Certainly it was true that a part of me hoped desperately to be
adopted by Mr. Tanaka after my mother died; but another part of me was very much afraid. I felt
horribly ashamed for even imagining I might live somewhere besides my tipsy house. After Mr. Tanaka
had left, I tried to busy myself in the kitchen, but I felt a bit like Satsu, for I could hardly see the things
before me. I don't know how much time passed. At length I heard my father making a sniffling noise,
which I took to be crying and which made my face burn with shame. When I finally forced myself to
glance his way, I saw him with his hands already tangled up in one of his fishing nets, but standing at the
doorway leading into the back room, where my mother lay in the full sun with the sheet stuck to her like
The next day, in preparation for meeting Mr. Tanaka in the village, I scrubbed my dirty ankles and
soaked for a while in our bath, which had once been the boiler compartment from an old steam engine
someone had abandoned in our village; the top had been sawed off and the inside lined with wood. I sat
a long while looking out to sea and feeling very independent, for I was about to see something of the
world outside our little village for the first time in my life.
When Satsu and I reached the Japan Coastal Seafood Company, we watched the fishermen unloading
their catches at the pier. My father was among them, grabbing fish with his bony hands and dropping
them into baskets. At one point he looked toward me and Satsu, and then afterward wiped his face on the
sleeve of his shirt. Somehow his features looked heavier to me than usual. The men carried the full
baskets to Mr. Tanaka's horse-drawn wagon and arranged them in the back. I climbed up on the wheel to
watch. Mostly, the fish stared out with glassy eyes, but every so often one would move its mouth, which
seemed to me like a little scream. I tried to reassure them by saying:
"You're going to the town of Senzuru, little fishies! Everything will be okay."
I didn't see what good it would do to tell them the truth. At length Mr. Tanaka came out into the street
and told Satsu and me to climb onto the bench of the wagon with him. I sat in the middle, close enough
to feel the fabric of Mr. Tanaka's kimono against my hand. I couldn't help blushing at this. Satsu was
looking right at me, but she didn't seem to' notice anything and wore her usual muddled expression.
I passed much of the trip looking back at the fish as they sloshed around in their baskets. When we
climbed up over the ridge leaving Yoroido, the wheel passed over a rock and the wagon tipped to one
side quite suddenly. One of the sea bass was thrown out and hit the ground so hard it was jolted back to
life. To see it flopping and gasping was more than I could bear. I turned back around with tears in my
eyes, and though I tried to hide them from Mr. Tanaka, he noticed them anyway. After he had retrieved
the fish and we were on our way again, he asked me what was the matter. "The poor fish!" I said.
"You're like my wife. They're mostly dead when she sees them, but if she has to cook a crab, or anything
else still alive, she grows teary-eyed and sings to them."
Mr. Tanaka taught me a little song-really almost a sort of prayer-that I thought his wife had invented.
She sang it for crabs, but we changed the words for the fish:
Suzuki yo suzuki!
Jobutsu shite kure!
Little bass, oh little bass!
Speed yourself to Buddhahood!
Then he taught me another song, a lullaby I'd never heard before. We sang it to a flounder in the back
lying in a low basket by itself, with its two button-eyes on the side of its head shifting around.
Nemure yo, ii karei yo!
Niwa ya makiba ni
Tori mo hitsuji mo
Hoshi wa mado kara
Gin no hikari o
Sosogu, kono yorul
Go to sleep, you good flounder!
When all are sleepingEven the birds and the sheep
In the gardens and in the fieldsThe stars this evening
Will pour their golden light
From the window.
We topped the ridge a few moments later, and the town of Senzuru came into view below us. The day
was drab, everything in shades of gray. It was my first look at the world outside Yoroido, and I didn't
think I'd missed much. I could see the thatched roofs of the town around an inlet, amid dull hills, and
beyond them the metal-colored sea, broken with shards of white. Inland, the landscape might have been
attractive but for the train tracks running across it like a scar.
Senzuru was mainly a dirty, smelly town. Even the ocean had a terrible odor, as if all the fish in it were
rotting. Around the legs of the Pier, pieces of vegetables bobbed like the jellyfish in our little inlet.
The boats were scratched up, some of their timbers cracked; they looked to me as if they'd been fighting
with one another.
Satsu and I sat a long while on the pier, until at length Mr. Tanaka called us inside the Japan Coastal
Seafood Company's headquarters and led us down a long corridor. The corridor couldn't have smelled
more strongly of fish guts if we had actually been inside a fish. But down at the end, to my surprise, was
an office, lovely to my nine-year-old eyes. Inside the doorway, Satsu and I stood in our bare feet on a
slimy floor of stone. Before us, a step led up to a platform covered with tatami mats. Perhaps this is what
impressed me so; the raised flooring made everything look grander. In any case, I considered it the most
beautiful room I'd ever seen-though it makes me laugh now to think that the office of a fish wholesaler
in a tiny town on the Japan Sea could have made such an impression on anyone.
On the platform sat an old woman on a cushion, who rose when she saw us and came down to the edge
to arrange herself on her knees. She was old and cranky-looking, and I don't think you could ever meet
anyone who fidgeted more. When she wasn't smoothing her kimono, she was wiping something from the
corner of her eye or scratching her nose, all the while sighing as though she felt very sorry there was so
much fidgeting to be done.
Mr. Tanaka said to her, "This is Chiyo-chan and her older sister,
I gave a little bow, to which Mrs. Fidget responded with a nod. Then she gave the biggest sigh she'd
given yet, and began to pick with one hand at a crusty patch on her neck. I would have liked to look
away, but her eyes were fixed on mine.
"Well! You're Satsu-san, are you?" she said. But she was still looking right at me.
"I'm Satsu," said-my sister. "When were you born?"
Satsu still seemed unsure which of us Mrs. Fidget was addressing, so I answered for her. "She's the year
of the cow," I said.
The old woman reached out and patted me with her fingers. But she did it in a most peculiar way, by
poking me several times in the jaw. I knew she meant it as a pat because she wore a kindly look.
"This one's rather pretty, isn't she? Such unusual eyes! And you can see that she's clever. Just look at her
forehead." Here she turned to my sister again and said, "Now, then. The year of the cow; fifteen years
old; the planet Venus; six, white. Hmm . . . Come a bit closer."
Satsu did as she was told. Mrs. Fidget began to examine her face, not only with her eyes but with her
fingertips. She spent a long while checking Satsu's nose from different angles, and her ears. She pinched
the lobes a number of times, then gave a grunt to indicate she was done with Satsu and turned to me.
"You're the year of the monkey. I can tell it just looking at you. What a great deal of water you have!
Eight, white; the planet Saturn. And a very attractive girl you are. Come closer."
Now she proceeded to do the same thing to me, pinching my ears and so on. I kept thinking of how she'd
scratched at the crusty patch on her neck with these same fingers. Soon she got to her feet and came
down onto the stone floor where we stood. She took a while getting her crooked feet into her zori, but
finally turned toward Mr. Tanaka and gave him a look he seemed to understand at once, because he left
the room, closing the door behind him.
Mrs. Fidget untied the peasant shirt Satsu was wearing and removed it. She moved Satsu's bosoms
around a bit, looked under her arms, and then turned her around and looked at her back. I was in such a
state of shock, I could barely bring myself to watch. I'd certainly seen Satsu naked before, but the way
Mrs. Fidget handled her body seemed even more indecent to me than when Satsu had held her bathing
dress up for the Sugi boy. Then, as if she hadn't done enough already, Mrs. Fidget yanked Satsu's pants
to the floor, looked her up and down, and turned her around facing front again.
"Step out of your pants," she said.
Satsu's face was more confused than I'd seen it in a long while, but she stepped out of her pants and left
them on the slimy stone floor. Mrs. Fidget took her by the shoulders and seated her on the platform.
Satsu was completely naked; I'm sure she had no more idea why she should be sitting there than I did.
But she had no time to wonder about it either, for in an instant Mrs. Fidget had put her hands on Satsu's
knees and spread them apart. And without a moment's hesitation she reached her hand between Satsu's
legs. After this I could no longer bring myself to watch. I think Satsu must have resisted, for Mrs. Fidget
gave a shout, and at the same moment I heard a loud slap, which was Mrs. Fidget smacking Satsu on the
leg-as I could tell later from the red mark there. In a moment Mrs. Fidget was done and told Satsu to put
her clothes back on. While she was dressing, Satsu gave a big sniff. She may have been crying, but I
didn't dare look at her.
Next, Mrs. Fidget came straight at me, and in a moment my own pants were down around my knees, and
my shirt was taken off me just as Satsu's had been. I had no bosoms for the old woman to move around,
but she looked under my arms just as she'd done with my sister, and turned me around too, before
seating me on the platform and pulling my pants off my legs. I was terribly frightened of what she would
do, and when she tried to spread my knees apart, she had to slap me on the leg just as she'd slapped
Satsu, which made my throat begin to burn from holding back my tears. She put a finger between my
legs and gave what felt to me like a pinch, in such a way that I cried out. When she told me to dress
again, I felt as a dam must feel when it's holding back an entire river. But I was afraid if Satsu or I began
to sob like little children, we might look bad in Mr. Tanaka's eyes.
"The girls are healthy," she said to Mr. Tanaka when he came back into the room, "and very suitable.
Both of them are intact. The older one has far too much wood, but the younger one has a good deal of
water. Pretty too, don't you think? Her older sister looks like a peasant beside her!"
"I'm sure they're both attractive girls in their way," he said. "Why don't we talk about it while I walk you
out? The girls will wait here for me."
When Mr. Tanaka had closed the door behind them, I turned to see Satsu sitting on the edge of the
platform, gazing upward toward the ceiling. Because of the shape of her face, tears were pooled along
the tops of her nostrils, and I burst into tears myself the moment I saw her upset. I felt myself to blame
for what had happened, and wiped her face with the corner of my peasant shirt.
"Who was that horrible woman?" she said to me.
"She must be a fortune-teller. Probably Mr. Tanaka wants to learn as much about us as he can . . ."
"But why should she look at us in that horrible way!"
"Satsu-san, don't you understand?" I said. "Mr. Tanaka is planning to adopt us."
When she heard this, Satsu began to blink as if a bug had crawled into her eye. "What are you talking
about?" she said. "Mr. Tanaka can't adopt us."
"Father is so old . . . and now that our mother is sick, I think Mr. Tanaka is worried about our future.
There won't be anyone to take care of us."
Satsu stood, she was so agitated to hear this. In a moment her eyes had begun to squint, and I could see
she was hard at work willing herself to believe that nothing was going to take us from our tipsy house.
She was squeezing out the things I'd told her in the same way you might squeeze water from a sponge.
Slowly her face began to relax again, and she sat down once more on the edge of the platform. In a
moment she was gazing around the room as if we'd never had the conversation at all.
Mr. Tanaka's house lay at the end of a lane just outside the town. The glade of pine trees surrounding it
smelled as richly as the ocean back on the seacliffs at our house; and when 1 thought of the ocean and
how I would be trading one smell for another, I felt a terrible emptiness I had to pull myself away from,
just as you might step back from a cliff after peering over it. The house was grander than anything in
Yoroido, with enormous eaves like our village shrine. And when Mr. Tanaka stepped up into his
entryway he left his shoes right where he walked out of them, because a maid came and stowed them on
a shelf for him. Satsu and I had no shoes to put away, but just as I was about to walk into the house, I
felt something strike me softly on my backside, and a pine cone fell onto the wood floor between my
feet. I turned to see a young girl about my age, with very short hair, running to hide behind a tree. She
peered out to smile at me with a triangle of empty space between her front teeth and then ran away,
looking back over her shoulder so I'd be certain to chase her. It may sound peculiar, but I'd never had the
experience of actually meeting another little girl. Of course I knew the girls in my village, but we'd
grown up together and had never done anything that might be called "meeting." But Kuniko-for that was
the name of Mr. Tanaka's little daughter-was so friendly from the first instant I saw her, I thought it
might be easy for me to move from one world into another.
Kuniko's clothing was much more refined than mine, and she wore zori; but being the village girl I was,
I chased her out into the woods barefoot until I caught up to her at a sort of playhouse made from the
sawed-off branches of a dead tree. She'd laid out rocks and pine cones to make rooms. In one she
pretended to serve me tea out of a cracked cup; in another we took turns nursing her baby doll, a little
boy named Taro who was really nothing more than a canvas bag stuffed with dirt. Taro loved strangers,
said Kuniko, but he was very frightened of earthworms; and by a most peculiar coincidence, so was
Kuniko. When we encountered one, Kuniko made sure I carried it outside in my fingers before poor
Taro should burst into tears.
I was delighted at the prospect of having Kuniko for a sister. In fact, the majestic trees and the pine
smell-even Mr. Tanaka-all began to seem almost insignificant to me in comparison. The difference
between life here at the Tanakas' house and life in Yoroido was as great as the difference between the
odor of something cooking and a mouthful of delicious food.
As it grew dark, we washed our hands and feet at the well, and went inside to take our seats on the floor
around a square table. I was amazed to see steam from the meal we were about to eat rising up into the
rafters of a ceiling high above me, with electric lights hanging down over our heads. The brightness of
the room was startling; I'd never seen such a thing before. Soon the servants brought our dinner-grilled
salted sea bass, pickles, soup, and steamed rice-but the moment we began to eat, the lights went out. Mr.
Tanaka laughed; this happened quite often, apparently. The servants went around lighting lanterns that
hung on wooden tripods.
No one spoke very much as we ate. I'd expected Mrs. Tanaka to be glamorous, but she looked like an
older version of Satsu, except that she smiled a good deal. After dinner she and Satsu began playing a
game of go, and Mr. Tanaka stood and called a maid to bring his kimono jacket. In a moment Mr.
Tanaka was gone, and after a short delay, Kuniko gestured to me to follow her out the door. She put on
straw zori and lent me an extra pair. I asked her where we were going.
"Quietly!" she said. "We're following my daddy. I do it every time he goes out. It's a secret."
We headed up the lane and turned on the main street toward the town of Senzuru, following some
distance behind Mr. Tanaka. In a few minutes we were walking among the houses of the town, and then
Kuniko took my arm and pulled me down a side street. At the end of a stone walkway between two
houses, we came to a window covered with paper screens that shone with the light inside. Kuniko put
her eye to a hole torn just at eye level in one of the screens. While she peered in, I heard the sounds of
laughter and talking, and someone singing to the accompaniment of a shamisen. At length she stepped
aside so I could put my own eye to the hole. Half the room inside was blocked from my view by a
folding screen, but I could see Mr. Tanaka seated on the mats with a group of three or four men. An old
man beside him was telling a story about holding a ladder for a young woman and peering up her robe;
everyone was laughing except Mr. Tanaka, who gazed straight ahead toward the part of the room
blocked from my view. An older woman in kimono came with a glass for him, which he held while she
poured beer. Mr. Tanaka struck me as an island in the midst of the sea, because although everyone else
was enjoying the story-even the elderly woman pouring the beer-Mr. Tanaka just went on staring at the
other end of the table. I took my eye from the hole to ask Kuniko what sort of place this was.
"It's a teahouse," she told me, "where geisha entertain. My daddy comes here almost every night. I don't
know why he likes it so. The women pour drinks, and the men tell stories-except when they sing songs.
Everybody ends up drunk."
I put my eye back to the hole in time to see a shadow crossing the wall, and then a woman came into
view. Her hair was ornamented with the dangling green bloom of a willow, and she wore a soft pink
kimono with white flowers like cutouts all over it. The broad obi tied around her middle was orange and
yellow. I'd never seen such elegant clothing. None of the women in Yoroido owned anything more
sophisticated than a cotton robe, or perhaps linen, with a simple pattern in indigo. But unlike her
clothing, the woman herself wasn't lovely at all. Her teeth protruded so badly that her lips didn't quite
cover them, and the narrowness of her head made me wonder if she'd been pressed between two boards
as a baby. You may think me cruel to describe her so harshly; but it struck me as odd that even though
no one could have called her a beauty, Mr. Tanaka's eyes were fixed on her like a rag on a hook. He
went on watching her while everyone else laughed, and when she knelt beside him to pour a few more
drops of beer into his glass, she looked up at him in a way that suggested they knew each other very well.
Kuniko took another turn peeking through the hole; and then we went back to her house and sat together
in the bath at the edge of the pine forest. The sky was extravagant with stars, except for the half blocked
by limbs above me. I could have sat much longer trying to understand all I'd seen that day and the
changes confronting me . . . but Kuniko had grown so sleepy in the hot water that the servants soon
came to help us out.
Satsu was snoring already when Kuniko and I lay down on our futons beside her, with our bodies
pressed together and our arms intertwined. A warm feeling of gladness began to swell inside me, and I
whispered to Kuniko, "Did you know I'm going to come and live with you?" I thought the news would
shock her into opening her eyes, or maybe even sitting up. But it didn't rouse her from her slumber. She
let out a groan, and then a moment later her breath was warm and moist, with the rattle of sleep in it.
Back at home my mother seemed to have grown sicker in the day I'd been away. Or perhaps it was just
that I'd managed to forget how ill she really was. Mr. Tanaka's house had smelled of smoke and pine, but
ours smelled of her illness in a way I can't even bear to describe. Satsu was working in the village during
the afternoon, so Mrs. Sugi came to help me bathe my mother. When we carried her out of the house,
her rib cage was broader than her shoulders, and even the whites of her eyes were -cloudy. I could only
endure seeing her this way by remembering how I'd once felt stepping out of the bath with her while she
was strong and healthy, when the steam had risen from our pale skin as if we were two pieces of boiled
radish. I found it hard to imagine that this woman, whose back I'd so often scraped with a stone, and
whose flesh had always seemed firmer and smoother to me than Satsu's, might be dead before even the
end of summer.
That night while lying on my futon, I tried to picture the whole confusing situation from every angle to
persuade myself that things would somehow be all right. To begin with, I wondered, how could we go
on living without my mother? Even if we did survive and Mr. Tanaka adopted us, would my own family
cease to exist? Finally I decided Mr. Tanaka wouldn't adopt just my sister and me, but my father as well.
He couldn't expect my father to live alone, after all. Usually I couldn't fall asleep until I'd managed to
convince myself this was true, with the result that I didn't sleep much during those weeks, and mornings
were a blur.
On one of these mornings during the heat of the summer, I was on my way back from fetching a packet
of tea in the village when I heard a crunching noise behind me. It turned out to be Mr. Sugi-Mr. Tanaka's
assistant-running up the path. When he reached me, he took a long while to catch his breath, huffing and
holding his side as if he'd just run all the way from Senzuru. He was red and shiny like a snapper, though
the day hadn't grown hot yet. Finally he said:
"Mr. Tanaka wants you and your sister ... to come down to the village ... as soon as you can."
I'd thought it odd that my father hadn't gone out fishing that morning. Now I knew why: Today was the
"And my father?" I asked. "Did Mr. Tanaka say anything about him?"
"Just get along, Chiyo-chan," he told me. "Go and fetch your sister."
I didn't like this, but I ran up to the house and found my father sitting at the table, digging grime out of a
rut in the wood with one of his fingernails. Satsu was putting slivers of charcoal into the stove. It seemed
as though the two of them were waiting for something horrible to happen.
I said, "Father, Mr. Tanaka wants Satsu-san and me to go down to the village."
Satsu took off her apron, hung it on a peg, and walked out the door. My father didn't answer, but blinked
a few times, staring at the point where Satsu had been. Then he turned his eyes heavily toward the floor
and gave a nod. I heard my mother cry out in her sleep from the back room.
Satsu was almost to the village before I caught up with her. I'd imagined this day for weeks already, but
I'd never expected to feel as frightened as I did. Satsu didn't seem to realize this trip to the village was
any different from one she might have made the day before. She hadn't even bothered to clean the
charcoal off her hands; while wiping her hair away she ended up with a smudge on her face. I didn't
want her to meet Mr. Tanaka in this condition, so I reached up to rub off the mark as our mother might
have done. Satsu knocked my hand away.
Outside the Japan Coastal Seafood Company, I bowed and said good morning to Mr. Tanaka, expecting
he would be happy to see us. Instead he was strangely cold. I suppose this should have been my first
clue that things weren't going to happen just the way I'd imagined. When he led us to his horse-drawn
wagon, I decided he probably wanted to drive us to his house so that his wife and daughter would be in
the room when he told us about our adoption.
"Mr. Sugi will be riding in the front with me," he said, "so you and Shizu-san had better get into the
back." That's just what he said: "Shizu-san." I thought it very rude of him to get my sister's name wrong
that way, but she didn't seem to notice. She climbed into the back of the wagon and sat down among the
empty fish baskets, putting one of her hands flat onto the slimy planks. And then with that same hand,
she wiped a fly from her face, leaving a shiny patch on her cheek. I didn't feel as indifferently about the
slime as Satsu did. I couldn't think about anything but the smell, and about how satisfied I would feel to
wash my hands and perhaps even my clothes when we reached Mr. Tanaka's house.
During the trip, Satsu and I didn't speak a word, until we topped the hill overlooking Senzuru, when all
of a sudden she said:
I looked out to see a train in the distance, making its way toward the town. The smoke rolled downwind
in a way that made me think of the skin being shed from a snake. I thought this was clever and tried
explaining it to Satsu, but she didn't seem to care. Mr. Tanaka would have appreciated it, I thought, and
so would Kuniko. I decided to explain it to both of them when we reached the Tanakas' home.
Then suddenly I realized we weren't headed in the direction of Mr. Tanaka's home at all.
The wagon came to a stop a few minutes later on a patch of dirt beside the train tracks, just outside the
town. A crowd of people stood with sacks and crates piled around them. And there, to one side of them,
was Mrs. Fidget, standing beside a peculiarly narrow man wearing a stiff kimono. He had soft black
hair, like a cat's, and held in one of his hands a cloth bag suspended from a string. He struck rne as out of
place in Senzuru, particularly there beside the farmers and the fishermen with their crates, and an old
hunched woman wearing a rucksack of yams. Mrs. Fidget said something to him, and when he turned
and peered at us, I decided at once that I was frightened of him.
Mr. Tanaka introduced us to this man, whose name was Bekku. Mr. Bekku said nothing at all, but only
looked closely at me and seemed puzzled by Satsu.
Mr. Tanaka said to him, "I've brought Sugi with me from Yoroido. Would you like him to accompany
you? He knows the girls, and I can spare him for a day or so."
"No, no," said Mr. Bekku, waving his hand.
I certainly hadn't expected any of this. I asked where we were going, but no one seemed to hear me, so I
came up with an answer for myself. I decided Mr. Tanaka had been displeased by what Mrs. Fidget had
told him about us, and that this curiously narrow man, Mr. Bekku, planned to take us somewhere to have
our fortunes told more completely. Afterward we would be returned to Mr. Tanaka.
While I tried my best to soothe myself with these thoughts, Mrs. Fidget, wearing a pleasant smile, led
Satsu and me some distance down the dirt platform. When we were too far away for the others to hear
us, her smile vanished and she said:
"Now listen to me. You're both naughty girls!" She looked around to be sure no one was watching and
then hit us on the tops of our heads. She didn't hurt me, but I cried out in surprise. "If you do something
to embarrass me," she went on, "I'll make you pay for it! Mr. Bekku is a stern man; you must pay
attention to what he says! If he tells you to crawl under the seat of the train, you'll do it. Understand?"
From the expression on Mrs. Fidget's face, I knew I should answer her or she might hurt me. But I was
in such shock I couldn't speak. And then just as I'd feared, she reached out and began pinching me so
hard on the side of my neck that I couldn't even tell which part of me hurt. I felt as if I'd fallen into a tub
of creatures that were biting me everywhere, and I heard myself whimper. The next thing I knew, Mr.
Tanaka was standing beside us.
"What's going on here?" he said. "If you have something more to say to these girls, say it while I'm
standing here. There's no cause for you to treat them this way."
"I'm sure we have a great many more things to talk about. But the train is coming," Mrs. Fidget said.
And it was true: I could see it curling around a turn not far in the distance.
Mr. Tanaka led us back up the platform to where the farmers and old women were gathering up their
things. Soon the train came to a stop before us. Mr. Bekku, in his stiff kimono, wedged himself between
Satsu and me and led us by our elbows into the train car. I heard Mr. Tanaka say something, but I was
too confused and upset to understand it. I couldn't trust what I heard. It might have been:
Mata yol "Well meet again!"
Matte yol "Wait!"
Or even this:
Ma . . . deyol "Well, let's go!"
When I peered out the window, I saw Mr. Tanaka walking back toward his cart and Mrs. Fidget wiping
her hands all over her kimono.
After a moment, my sister said, "Chiyo-chan!"
I buried my face in my hands; and honestly I would have plunged in anguish through the floor of the
train if I could have. Because the way my sister said my name, she hardly needed to say anything more.
"Do you know where we're going?" she said to me.
I think all she wanted was a yes or no answer. Probably it didn't matter to her what our destination wasso long as someone knew what was happening. But, of course, I didn't. I asked the narrow man, Mr.
Bekku, but he paid me no attention. He was still staring at Satsu as if he had never seen anything like her
before. Finally he squeezed his face into a look of disgust and said:
"Fish! What a stench, the both of you!"
He took a comb from his drawstring bag and began tearing it through her hair. I'm certain he must have
hurt her, but I could see that watching the countryside pass by outside the window hurt her even more. In
a moment Satsu's lips turned down like a baby's, and she began to cry. Even if she'd hit me and yelled at
me, I wouldn't have ached as much as I did watching her whole face tremble. Everything was my fault.
An old peasant woman with her teeth bared like a dog's came over with a carrot for Satsu, and after
giving it to her asked where she was going.
"Kyoto," Mr. Bekku answered.
I felt so sick with worry at hearing this, I couldn't bring myself to look Satsu in the eye any longer. Even
the town of Senzuru seemed a remote, faraway place. As for Kyoto, it sounded as foreign to me as Hong
Kong, or even New York, which I'd once heard Dr. Miura talk about. For all I knew, they ground up
children in Kyoto and fed them to dogs.
We were on that train for many hours, without food to eat. The sight of Mr. Bekku taking a wrapped-up
lotus leaf from his bag, and unwrapping it to reveal a rice ball sprinkled with sesame seeds, certainly got
my attention. But when he took it in his bony fingers and pressed it into his mean little mouth without so
much as looking at me, I felt as if I couldn't take another moment of torment. We got off the train at last
in a large town, which I took to be Kyoto; but after a time another train pulled into the station, and we
boarded it. This one did take us to Kyoto. It was much more crowded than the first train had been, so
that we had to stand. By the time we arrived, as evening was approaching, I felt as sore as a rock must
feel when the waterfall has pounded on it all day long.
I could see little of the city as we neared Kyoto Station. But then to my astonishment, I caught a glimpse
of rooftops reaching as far as the base of hills in the distance. I could never have imagined a city so
huge. Even to this day, the sight of streets and buildings from a train often makes me remember the
terrible emptiness and fear I felt on that curious day when I first left my home.
Back then, around 1930, a fair number of rickshaws still operated in Kyoto. In fact, so many were lined
up before the station that I imagined no one went anywhere in this big city unless it was in a rickshawwhich couldn't have been further from the truth. Perhaps fifteen or twenty of them sat pitched forward
onto their poles, with their drivers squatting nearby, smoking or eating; some of the drivers even lay
curled up asleep right there in the filth of the street.
Mr. Bekku led us by our elbows again, as if we were a couple of buckets he was bringing back from the
well. He probably thought I'd have run away if he'd let go of me a moment; but I wouldn't have.
Wherever he was taking us, I preferred it to being cast out alone into that great expanse of streets and
buildings, as foreign to me as the bottom of the sea.
We climbed into a rickshaw, with Mr. Bekku squeezed tightly on the bench between us. He was a good
deal bonier under that kimono even than I suspected. We pitched back as the driver raised the poles, and
then Mr. Bekku said, "Tominaga-cho, in Gion."
The driver said nothing in reply, but gave the rickshaw a tug to get it moving and then set off at a trot.
After a block or two I worked up my courage and said to Mr. Bekku, "Won't you please tell us where
He didn't look as if he would reply, but after a moment he said, "To your new home."
At this, my eyes filled with tears. I heard Satsu weeping on the other side of Mr. Bekku and was just
about to let out a sob of my own when Mr. Bekku suddenly struck her, and she let out a loud gasp. I bit
my lip and stopped myself so quickly from crying any further that I think the tears themselves may have
come to a halt as they slid down my cheeks.
Soon we turned onto an avenue that seemed as broad as the whole village of Yoroido. I could hardly see
the other side for all the people, bicycles, cars, and trucks. I'd never seen a car before. I'd seen
photographs, but I remember being surprised at how . . . well, cruel, is the way they looked to me in my
frightened state, as though they were designed more to hurt people than to help them. All my senses
were assaulted. Trucks rumbled past so close I could smell the scorched rubber odor of their tires. I
heard a horrible screech, which turned out to be a streetcar on tracks in the center of the avenue.
I felt terrified as evening settled in around us; but I was never so astonished by anything in my life as by
my first glimpse of city lights. I'd never even seen electricity except during part of our dinner at Mr.
Tanaka's house. Here, windows were lit along the buildings upstairs and down, and the people on the
sidewalks stood under puddles of yellow glow. I could see pinpoints even at the far reaches of the
avenue. We turned onto another street, and I saw for the first time the Mi-namiza Theater standing on
the opposite side of a bridge ahead of us. Its tiled roof was so grand, I thought it was a palace.
At length the rickshaw turned down an alleyway of wooden houses. The way they were all packed
together, they seemed to share one continuous facade-which once again gave me the terrible feeling of
being lost. I watched women in kimono rushing around in a great hurry on the little street. They looked
very elegant to me; though, as I later learned, they were mostly maids.
When we came to a halt before a doorway, Mr. Bekku instructed me to get out. He climbed out behind
me, and then as if the day hadn't been difficult enough, the worst thing of all happened. For when Satsu
tried to get out as well, Mr. Bekku turned and pushed her back with his long arm.
"Stay there," he said to her. "You're going elsewhere."
I looked at Satsu, and Satsu looked at me. It may have been the first time we'd ever completely
understood each other's feelings. But it lasted only a moment, for the next thing I knew my eyes had
welled up with tears so much I could scarcely see. I felt myself being dragged backward by Mr. Bekku; I
heard women's voices and quite a bit of commotion. I was on the point of throwing myself onto the
street when suddenly Satsu's mouth fell open at something she saw in the doorway behind me.
I was in a narrow entryway with an ancient-looking well on one side and a few plants on the other. Mr.
Bekku had dragged me inside, and now he pulled me up onto my feet. There on the step of the entryway,
just slipping her feet into her lacquered zori, stood an exquisitely beautiful woman wearing a kimono
lovelier than anything I'd ever imagined. I'd been impressed with the kimono worn by the young
bucktoothed geisha in Mr. Tanaka's village of Senzuru; but this one was a water blue, with swirling lines
in ivory to mimic the current in a stream. Glistening silver trout tumbled in the current, and the surface
of the water was ringed with gold wherever the soft green leaves of a tree touched it. I had no doubt the
gown was woven of pure silk, and so was the obi, embroidered in pale greens and yellows. And her
clothing wasn't the only extraordinary thing about her; her face was painted a kind of rich white, like the
wall of a cloud when lit by the sun. Her hair, fashioned into lobes, gleamed as darkly as lacquer, and was
decorated with ornaments carved out of amber, and with a bar from which tiny silver strips dangled,
shimmering as she moved.
This was my first glimpse of Hatsumomo. At the time, she was one of the most renowned geisha in the
district of Gion; though of course I didn't know any of this then. She was a petite woman; the top of her
hairstyle reached no higher than Mr. Bekku's shoulder. I was so startled by her appearance that I forgot
my manners-not that I had developed very good manners yet-and stared directly at her face. She was
smiling at me, though not in a kindly way. And then she said:
"Mr. Bekku, could you take out the garbage later? I'd like to be on my way."
There was no garbage in the entryway; she was talking about me. Mr. Bekku said he thought
Hatsumomo had enough room to pass.
"You may not mind being so close to her," said Hatsumomo. "But when I see filth on one side of the
street, I cross to the other."
Suddenly an older woman, tall and knobby, like a bamboo pole, appeared in the doorway behind her.
"I don't know how anyone puts up with you, Hatsumomo-san," said the woman. But she gestured for Mr.
Bekku to pull me onto the street again, which he did. After this she stepped down into the entry-way
very awkwardly-for one of her hips jutted out and made it difficult for her to walk-and crossed to a tiny
cabinet on the wall. She took from it something that looked to me like a piece of flint, along with a
rectangular stone like the kind fishermen use to sharpen their knives, and then stood behind Hatsumomo
and struck the flint against the stone, causing a little cluster of sparks to jump onto Hatsumomo's back. I
didn't understand this at all; but you see, geisha are more superstitious even than fishermen. A geisha
will never go out for the evening until someone has sparked a flint on her back for good luck.
After this, Hatsumomo walked away, using such tiny steps that she seemed to glide along with the
bottom of her kimono fluttering just a bit. I didn't know that she was a geisha at the time, for she was
worlds above the creature I'd seen in Senzuru a few weeks earlier. I decided she must be some sort of
stage performer. We all watched her float away, and then Mr. Bekku handed me over to the older
woman in the entryway. He climbed back into the rickshaw with my sister, and the driver raised the
poles. But I never saw them leave, because I was slumped down in the entryway in tears.
The older woman must have taken pity on me; for a long while I lay there sobbing in my misery without
anyone touching me. I even heard her shush up a maid who came from inside the house to speak with
her. At length she helped me to my feet and dried my face with a handkerchief she took from one sleeve
of her simple gray kimono.
"Now, now, little girl. There's no need to worry so. No one's going to cook you." She spoke with the
same peculiar accent as Mr. Bekku and Hatsumomo. It sounded so different from the Japanese spoken in
my village that I had a hard time understanding her. But in any case, hers were the kindest words anyone
had said to me all day, so I made up my mind to do what she advised. She told me to call her Auntie.
And then she looked down at me, square in the face, and said in a throaty voice:
"Heavens! What startling eyes! You're a lovely girl, aren't you? Mother will be thrilled."
I thought at once that the mother of this woman, whoever she was, must be very old, because Auntie's
hair, knotted tightly at the back of her head, was mostly gray, with only streaks of black remaining.
Auntie led me through the doorway, where I found myself standing on a dirt corridor passing between
two closely spaced structures to a courtyard in the back. One of the structures was a little dwelling like
my house in Yoroido-two rooms with floors of dirt; it turned out to be the maids' quarters. The other was
a small, elegant house sitting up on foundation stones in such a way that a cat might have crawled
underneath it. The corridor between them opened onto the dark sky above, which gave me the feeling I
was standing in something more like a miniature village than a house-especially since I could see several
other small wooden buildings down in the courtyard at the end. I didn't know it at the time, but this was
a very typical dwelling for the section of Kyoto in which it stood. The buildings in the courtyard, though
they gave the impression of another group of tiny houses, were just a small shed for the toilets and a
storehouse of two levels with a ladder on the outside. The entire dwelling fitted into an area smaller than
Mr. Tanaka's home in the countryside and housed only eight people. Or rather nine, now that I had
After I took in the peculiar arrangement of all the little buildings, I noticed the elegance of the main
house. In Yoroido> the wood structures were more gray than brown, and rutted by the salty air. But here
the wood floors and beams gleamed with the yellow light of electric lamps. Opening off the front
hallway were sliding doors with paper screens, as well as a staircase that seemed to climb straight up.
One of these doors stood open, so that I was able to see a wood cabinet with a Buddhist altar. These
elegant rooms turned out to be for the use of the family-and also Hatsumomo, even though, as I would
come to understand, she wasn't a family member at all. When family members wanted to go to the
courtyard, they didn't walk down the dirt corridor as the servants did, but had their own ramp of polished
wood running along the side of the house. There were even separate toilets-an upper one for family and
a lower one for servants.
I had yet to discover most of these things, though I would learn them within a day or two. But I stood
there in the corridor a long while, wondering what sort of place this was and feeling very afraid. Auntie
had disappeared into the kitchen and was talking in a hoarse voice to somebody. At length the somebody
came out. She turned out to be a girl about my age, carrying a wooden bucket so heavy with water that
she sloshed half of it onto the dirt floor. Her body was narrow; but her face was plump and almost
perfectly round, so that she looked to me like a melon on a stick. She was straining to carry the bucket,
and her tongue stuck out of her mouth just the way the stem comes out of the top of a pumpkin. As I
soon learned, this was a habit of hers. She stuck her tongue out when she stirred her miso soup, or
scooped rice into a bowl, or even tied the knot of her robe. And her face was truly so plump and so soft,
with that tongue curling out like a pumpkin stem, that within a few days I'd given her the nickname of
"Pumpkin," which everyone came to call her-even her customers many years later when she was a
geisha in Gion.
When she had put down the bucket near me, Pumpkin retracted her tongue, and then brushed a strand of
hair behind her ear while she looked me up and down. I thought she might say something, but she just
went on looking, as though she were trying to make up her mind whether or not to take a bite of me.
Really, she did seem hungry; and then at last she leaned in and whispered:
"Where on earth did you come from?"
I didn't think it would help to say that I had come from Yoroido; since her accent was as strange to me as
everyone else's, I felt sure she wouldn't recognize the name of my village. I said instead that I'd just
"I thought I would never see another girl my age," she said to me. But what's the matter with your eyes?"
Just then Auntie came out from the kitchen, and after shooing Pumpkin away, picked up the bucket and
a scrap of cloth, and led me down to the courtyard. It had a beautiful mossy look, with stepping-stones
leading to a storehouse in the back; but it smelled horrible because of the toilets in the little shed along
one side. Auntie told me to undress. I was afraid she might do to me something like what Mrs. Fidget
had done, but instead she only poured water over my shoulders and
rubbed me down with the rag. Afterward she gave me a robe, which was nothing more than coarsely
woven cotton in the simplest pattern of dark blue, but it was certainly more elegant than anything I'd
ever worn before. An old woman who turned out to be the cook came down into the corridor with
several elderly maids to peer at me. Auntie told them they would have plenty of time for staring another
day and sent them back where they'd come from.
"Now listen, little girl," Auntie said to me, when we were alone. "I don't even want to know your name
yet. The last girl who came, Mother and Granny didn't like her, and she was here only a month. I'm too
old to keep learning new names, until they've decided they're going to keep you."
"What will happen if they don't want to keep me?" I asked.
"It's better for you if they keep you."
"May I ask, ma'am . . . what is this place?"
"It's an okiya," she said. "It's where geisha live. If you work very hard, you'll grow up to be a geisha
yourself. But you won't make it as far as next week unless you listen to me very closely, because Mother
and Granny are coming down the stairs in just a moment to look at you. And they'd better like what they
see. Your job is to bow as low as you can, and don't look them in the eye. The older one, the one we call
Granny, has never liked anyone in her life, so don't worry about what she says. If she asks you a
question, don't even answer it, for heaven's sake! I'll answer for you. The one you want to impress is
Mother. She's not a bad sort, but she cares about only one thing."
I didn't have a chance to find out what that one thing was, for I heard a creaking noise from the direction
of the front entrance hall, and soon the two women came drifting out onto the walkway. I didn't dare
look at them. But what I could see out of the corner of my eye made me think of two lovely bundles of
silk floating along a stream. In a moment they were hovering on the walkway in front of me, where they
sank down and smoothed their kimono across their knees.
"Umeko-san!" Auntie shouted-for this was the name of the cook. "Bring tea for Granny."
"I don't want tea," I heard an angry voice say.
"Now, Granny," said a raspier voice, which I took to be Mother's. "You don't have to drink it. Auntie
only wants to be sure you're comfortable."
"There's no being comfortable with these bones of mine," the old woman grumbled. I heard her take in a
breath to say something more, but Auntie interrupted.
"This is the new girl, Mother," she said, and gave me a little shove, which I took as a signal to bow. I got
onto my knees and bowed so low, I could smell the musty air wafting from beneath the foundation. Then
I heard Mother's voice again.
"Get up and come closer. I want to have a look at you."
I felt certain she was going to say something more to me after I'd approached her, but instead she took
from her obi, where she kept it tucked, a pipe with a metal bowl and a long stem made of bamboo. She
set it down beside her on the walkway and then brought from the pocket of her sleeve a drawstring bag
of silk, from which she removed a big pinch of tobacco. She packed the tobacco with her little finger,
stained the burnt orange color of a roasted yam, and then put the pipe into her mouth and lit it with a
match from a tiny metal box.
Now she took a close look at me for the first time, puffing on her pipe while the old woman beside her
sighed. I didn't feel I could look at Mother directly, but I had the impression of smoke seeping out of her
face like steam from a crack in the earth. I was so curious about her that my eyes took on a life of their
own and began to dart about. The more I saw of her, the more fascinated I became. Her kimono was
yellow, with willowy branches bearing lovely green and orange leaves; it was made of silk gauze as
delicate as a spider's web. Her obi was every bit as astonishing to me. It was a lovely gauzy texture too,
but heavier-looking, in russet and brown with gold threads woven through. The more I looked at her
clothing, the less I was aware of standing there on that dirt corridor, or of wondering what had become
of my sister-and my mother and father-and what would become of me. Every detail of this woman's
kimono was enough to make me forget myself. And then I came upon a rude shock: for there above the
collar of her elegant kimono was a face so mismatched to the clothing that it was as though I'd been
patting a cat's body only to discover that it had a bulldog's head. She was a hideous-looking woman,
though much younger than Auntie, which I hadn't expected. It turned out that Mother was actually
Auntie's younger sister-though they called each other "Mother" and "Auntie," just as everyone else in the
okiya did. Actually they weren't really sisters in the way Satsu and I were. They hadn't been born into
the same family; but Granny had adopted them both.
I was so dazed as I stood there, with so many thoughts running through my mind, that I ended up doing
the very thing Auntie had told me not to do. I looked straight into Mother's eyes. When I did she took
the pipe from her mouth, which caused her jaw to fall open like a trapdoor. And even though I knew I
should at all costs look down again, her peculiar eyes were so shocking to me in their ugliness that I
could do nothing but stand there staring at them. Instead of being white and clear, the whites of her eyes
had a hideous yellow cast, and made me think at once of a toilet into which someone had just urinated.
They were rimmed with the raw lip of her lids, in which a cloudy moisture was pooled; and all around
them the skin was sagging.
I drew my eyes downward as far as her mouth, which still hung open. The colors of her face were all
mixed up: the rims of her eyelids were red like meat, and her gums and tongue were gray. And to make
things more horrible, each of her lower teeth seemed to be anchored in a little pool of blood at the gums.
This was due to some sort of deficiency in Mother's diet over the past years, as I later learned; but I
couldn't help feeling, the more I looked at her, that she was like a tree that has begun to lose its leaves. I
was so shocked by the whole effect that I think I must have taken a step back, or let out a gasp, or in
some way given her some hint of my feelings, for all at once she said to me, in that raspy voice of hers:
"What are you looking at!"
"I'm very sorry, ma'am. I was looking at your kimono," I told her. "I don't think I've ever seen anything
This must have been the right answer-if there was a right answer-because she let out something of a
laugh, though it sounded like a cough.
"So you like it, do you?" she said, continuing to cough, or laugh, I couldn't tell which. "Do you have any
idea what it cost?"
"More than you did, that's for certain."
Here the maid appeared with tea. While it was served I took the opportunity to steal a glance at Granny.
Whereas Mother was a bit on the plump side, with stubby fingers and a fat neck, Granny was old and
shriveled. She was at least as old as my father, but she looked as if she'd spent her years stewing herself
into a state of concentrated meanness. Her gray hair made me think of a tangle of silk threads, for I
could see right through them to her scalp. And even her scalp looked mean, because of patches where
the skin was colored red or brown from old age. She wasn't frowning exactly, but her mouth made the
shape of a frown in its natural state anyway.
She took in a great big breath in preparation to speak; and then as she let it out again she mumbled,
"Didn't I say I don't want any tea?" After this, she sighed and shook her head, and then said to me, "How
old are you, little girl?"
"She's the year of the monkey," Auntie answered for me.
"That fool cook is a monkey," Granny said.
"Nine years old," said Mother. "What do you think of her, Auntie?"
Auntie stepped around in front of me and tipped my head back to look at my face. "She has a good deal
"Lovely eyes," said Mother. "Did you see them, Granny?"
"She looks like a fool to me," Granny said. "We don't need another monkey anyway."
"Oh, I'm sure you're right," Auntie said. "Probably she's just as you say. But she looks to me like a very
clever girl, and adaptable; you can see that from the shape of her ears."
"With so much water in her personality," Mother said, "probably she'll be able to smell a fire before it
has even begun. Won't that be nice, Granny? You won't have to worry any longer about our storehouse
burning with all our kimono in it."
Granny, as I went on to learn, was more terrified of fire than beer is of a thirsty old man.
"Anyway, she's rather pretty, don't you think?" Mother added.
"There are too many pretty girls in Gion," said Granny. "What we need is a smart girl, not a pretty girl.
That Hatsumomo is as pretty as they come, and look at what a fool she is!"
After this Granny stood, with Auntie's help, and made her way back up the walkway. Though I must say
that to watch Auntie's clumsy gait-because of her one hip jutting out farther than the other-it wasn't at all
obvious which of the two women had the easier time walking. Soon I heard the sound of a door in the
front entrance hall sliding open and then shut again, and Auntie came back.
"Do you have lice, little girl?" Mother asked me.
"No," I said.
"You're going to have to learn to speak more politely than that. Auntie, be kind enough to trim her hair,
just to be sure."
Auntie called a servant over and asked for shears.
"Well, little girl," Mother told me, "you're in Kyoto now. You'll learn to behave or get a beating. And it's
Granny gives the beatings around here, so you'll be sorry. My advice to you is: work very hard, and
never leave the okiya without permission. Do as you're told; don't be too much trouble; and you might
begin learning the arts of a geisha two or three months from now. I didn't bring you here to be a maid.
I'll throw you out, if it comes to that."
Mother puffed on her pipe and kept her eyes fixed on me. I didn't dare move until she told me to. I found
myself wondering if my sister was standing before some other cruel woman, in another house
somewhere in this horrible city. And I had a sudden image in my mind of my poor, sick mother propping
herself on one elbow upon her futon and looking around to see where we had gone. I didn't want Mother
to see me crying, but the tears pooled in my eyes before I could think of how to stop them. With my
vision glazed, Mother's yellow kimono turned softer and softer, until it seemed to sparkle. Then she
blew out a puff of her smoke, and it disappeared completely.
During those first few days in that strange place, I don't think I could 11 have felt worse if I'd lost my
arms and legs, rather than my family V and my home. I had no doubt life would never again be the
same. All I could think of was my confusion and misery; and I wondered day after day when I might see
Satsu again. I was without my father, without my mother-without even the clothing I'd always worn. Yet
somehow the thing that startled me most, after a week or two had passed, was that I had in fact survived.
I remember one moment drying rice bowls in the kitchen, when all at once I felt so disoriented I had to
stop what I was doing to stare for a long while at my hands; for I could scarcely understand that this
person drying the bowls was actually me. Mother had told me I could begin my training within a few
months if I worked hard and behaved myself. As I learned from Pumpkin, beginning my training meant
going to a school in another section of Gion to take lessons in things like music, dance, and tea
ceremony. All the girls studying to be geisha took classes at this same school. I felt sure I'd find Satsu
there when I was finally permitted to go; so by the end of my first week, I'd made up my mind to be as
obedient as a cow following along on a rope, in the hopes that Mother would send me to the school right
Most of my chores were straightforward. I stowed away the futons in the morning, cleaned the rooms,
swept the dirt corridor, and so forth. Sometimes I was sent to the pharmacist to fetch ointment for the
cook's scabies, or to a shop on Shijo Avenue to fetch the rice crackers Auntie was so fond of. Happily
the worst jobs, such as cleaning the toilets, were the responsibility of one of the elderly maids. But even
though I worked as hard as I knew how, I never seemed to make the good impression I hoped to,
because my chores every day were more than I could possibly finish; and the problem was made a good
deal worse by Granny.
Looking after Granny wasn't really one of my duties-not as Auntie described them to me. But when
Granny summoned me I couldn't very well ignore her, for she had more seniority in the okiya than
anyone else. One day, for example, I was about to carry tea upstairs to Mother when I heard Granny call
"Where's that girl! Send her in here!"
I had to put down Mother's tray and hurry into the room where Granny was eating her lunch.
"Can't you see this room is too hot?" she said to me, after I'd bowed to her on my knees. "You ought to
have come in here and opened the window."
"I'm sorry, Granny. I didn't know you were hot."
"Don't I look hot?"
She was eating some rice, and several grains of it were stuck to her lower lip. I thought she looked more
mean than hot, but I went directly to the window and opened it. As soon as I did, a fly came in and
began buzzing around Granny's food.
"What's the matter with you?" she said, waving at the fly with her chopsticks. "The other maids don't let
in flies when they open the window!"
I apologized and told her I would fetch a swatter.
"And knock the fly into my food? Oh, no, you won't! You'll stand right here while I eat and keep it away
So I had to stand there while Granny ate her food, and listen to her tell me about the great Kabuki actor
Ichimura Uzaemon XIV, who had taken her hand during a moon-viewing party when she was only
fourteen. By the time I was finally free to leave, Mother's tea had grown so cold I couldn't even deliver
it. Both the cook and Mother were angry with me.
The truth was, Granny didn't like to be alone. Even when she needed to use the toilet, she made Auntie
stand just outside the door and hold her hands to help her balance in a squatting position. The odor was
so overpowering, poor Auntie nearly broke her neck trying to get her head as far away from it as
possible. I didn't have any jobs as bad as this one, but Granny did often call me to massage her while she
cleaned her ears with a tiny silver scoop; and the task of massaging her was a good deal worse than you
might think. I almost felt sick the first time she unfastened her robe and pulled it down from her
shoulders, because the skin there and on her neck was bumpy and yellow like an uncooked chicken's.
The problem, as I later learned, was that in her geisha days she'd used a kind of white makeup we call
"China Clay," made with a base of lead. China Clay turned out to be poisonous, to begin with, which
probably accounted in part for Granny's foul disposition. But also as a younger woman Granny had often
gone to the hot springs north of Kyoto. This would have been fine except that the lead-based makeup
was very hard to remove; traces of it combined with some sort of chemical in the water to make a dye
that ruined her skin. Granny wasn't the only one afflicted by this problem. Even during the early years of
World War II, you could still see old women on the streets in Gion with sagging yellow necks.
One day after I'd been in the okiya about three weeks, I went upstairs much later than usual to straighten
Hatsumomo's room. I was terrified of Hatsumomo, even though I hardly saw her because of the busy life
she led. I worried about what might happen if she found me alone, so I always tried to clean her room
the moment she left the okiya for her dance lessons. Unfortunately, that morning Granny had kept me
busy until almost noon.
Hatsumomo's room was the largest in the okiya, larger in floor space than my entire house in Yoroido. I
couldn't think why it should be so much bigger than everyone else's until one of the elderly maids told
me that even though Hatsumomo was the only geisha in the okiya now, in the past there'd been as many
as three or four, and they'd all slept together in that one room. Hatsumomo may have lived alone, but she
certainly made enough mess for four people. When I went up to her room that day, in addition to the
usual magazines strewn about, and brushes left on the mats near her tiny makeup stand, I found an apple
core and an empty whiskey bottle under the table. The window was open, and the wind must have
knocked down the wood frame on which she'd hung her kimono from the night before-or perhaps she'd
tipped it over before going to bed drunk and hadn't yet bothered to pick it up. Usually Auntie would
have fetched the kimono by now, because it was her responsibility to care for the clothing in the okiya,
but for some reason she hadn't. Just as I was standing the frame erect again, the door slid open all at
once, and I turned to see Hatsumomo standing there.
"Oh, it's you," she said. "I thought I heard a little mousie or something. I see you've been straightening
my room! Are you the one who keeps rearranging all my makeup jars? Why do you insist on doing that?"
"I'm very sorry, ma'am," I said. "I only move them to dust underneath."
"But if you touch them," she said, "they'll start to smell like you. And then the men will say to me,
'Hatsumomo-san, why do you stink like an ignorant girl from a fishing village?' I'm sure you understand
that, don't you? But let's have you repeat it back to me just to be sure. Why don't I want you to touch my
I could hardly bring myself to say it. But at last I answered her. "Because it will start to smell like me."
"That's very good! And what will the men say?" "They'll say, 'Oh, Hatsumomo-san, you smell just like a
girl from a fishing village.'"
"Hmm . . . there's something about the way you said it that I don't like. But I suppose it will do. I can't
see why you girls from fishing villages smell so bad. That ugly sister of yours was here looking for you
the other day, and her stench was nearly as bad as yours."
I'd kept my eyes to the floor until then; but when I heard these words, I looked Hatsumomo right in the